[JPL] Get Out'Tha Ghetto!

Ray Reach rreach at bellsouth.net
Mon Aug 11 09:26:17 EDT 2008


Hey Jae!

Thanks for the response.  I never said I didn't LIKE Coltrane.  I'm sorry if I mistakenly left that impression.  But I teach many very young, developing students at the Alabama Jazz Hall of Fame.  Of course, we talk about the many important contributions that Trane made.  But I don't want my young saxophonists to emulate Trane's poor intonation, thinking that his tecnical ability on the sax is the pinnacle of performance practice.  For technical control, I suggest that my students study with an accomplished Classical saxophonist. 

I try to instill in my students a very analytical approach to jazz (in particular) and to music (in general).  I give them a very stringent criteria with which to judge things.  Then, I insist that they make decisions for themselves about what ascpects of a given performer's playing are important.  I guess I'm saying here that I totally agree with you.

An example of this in the Classical world might be the legendary pianist Vladimir Horowitz.  He often played a lot of wrong notes.  But we forgave him this because of the passion and emotion in his playing.  Enough said.

I do hope all is well with you and yours.  

Best,

Ray  
--
Ray Reach 

Pianist / Vocalist / Guitarist / 
Arranger / Composer / Producer 
CEO, Magic City Music Productions 
207 Three Sons Drive 
Birmingham, AL 35226 
Director of Student Jazz Programs, 
Alabama Jazz Hall of Fame 
www.jazzhall.com
www.en.wikipedia.org/wiki/Ray_Reach 
www.allaboutjazz.com/php/musician.php?id=1874 
www.myspace.com/rayreachmusic
Cellular: 205-960-6328 


-------------- Original message from Jae Sinnett <jaejazz at yahoo.com>: -------------- 

This week's sponsor: JazzWeek Summit 2009 -- dates and venue to be announced in 
> August; registration opens in September. 
> 
> ++++++++++++++++++++++++++++++ 
> Ray...good to have you on the list and hope you're doing well. In reference to your view on Coltrane...from my point of view as a jazz educator, it serves little purpose to point out that Trane had intonation problems to your students. To me, that has a "playing down" quality to it. We could probably pick out more than half the saxophonists that have or do play jazz that have intonation problems. Granted at times intonation problems can certainly take away from the music but not with Coltrane. On "Ballads" he plays beautifully but you obviously hear it differently. In fact you're the first person that I've heard lob that 
> kind of criticism towards Trane in reference to that recording. 
> The reasons for this are varied as you might guess...not working on developing it as you should...emotional output...instrument flaw...etc... Michael Brecker 
> for example... had great intonation but he ultilized Trane's ideas for most of 
> the early to mid part of his career. So what is more important here? 
> 
> Coltrane's contributions to this music far surpass what technical limitations 
> you feel he had. He created a concept of harmonic motion in chord progressions 
> and line movement that was unique to him but these ideas influenced thousands in 
> and out of the educational systems all over the world. Then there was his 
> sound...making "it" one of the most emulated in attempt...for many years with 
> many. And what about the emotional impact of his music? That is profound. "A 
> Love Supreme" introduced clearly another peripheral element that paralleled his 
> musical applications and that was the spiritual. It changed the way many 
> musicians played from the point of connection. 
> 
> See, you could spend semester after semester just dealing with the things that 
> made him as brilliant and significant as he was. This would be IMO more 
> important to the student than telling them...but see...he had intonation 
> problems. We could be like hollywood and also teach them that they did drugs. 
> What's the point? Considering how much saxophone the man played I would say so 
> what. It's like listening to Keith Jarrett. If the man didn't play as much piano 
> as he does there would be no way I could tolerate the grunting and moaning. His 
> pianistic ability makes it easy for me to listen through the mouth noise. Now 
> stylistically speaking...you may not have liked Coltrane but be sure to separate 
> that personal point of view from the overwhelmingly positive influence he 
> brought to jazz...in your classroom...if that is the case. 
> 
> Jae Sinnett 
> 
> 
> --- On Sun, 8/10/08, Eric Jackson wrote: 
> 
> > From: Eric Jackson 
> > Subject: Re: [JPL] Get Out'Tha Ghetto! 
> > To: jazzproglist at jazzweek.com 
> > Date: Sunday, August 10, 2008, 8:43 PM 
> > This week's sponsor: JazzWeek Summit 2009 -- dates and 
> > venue to be announced in August; registration opens in 
> > September. 
> > 
> > ++++++++++++++++++++++++++++++ 
> > 
> > Ray Reach wrote: 
> > 
> > > An example of John Coltrane's intonation problems 
> > would be the ballad playing on his album with Johnny 
> > Hartman. He is consistently sharp in the upper register. 
> > Painfully so to my ear. If I had been the producer, I would 
> > never have let that pass. On the other hand, Mr. 
> > Hartman's voice is quite mellow and pleasing, and his 
> > delivery is solid, and he possesses good musical instincts 
> > as to phrasing and articulation. Mr. Coltranes concept, 
> > while lyrical and at times beautiful, loses me at times in 
> > technical limitations. Still, Mr. Coltrane left a great 
> > legacy. Part of that legacy is: DON'T TAKE 
> > DRUGS...THEY WILL DESTROY YOU. Who knows what higher level 
> > of skill to which Mr. Coltrane may have risen if he 
> > hadn't made such incredibly poor lifestyle choices. 
> > > 
> > > In all fairness, Mr. Coltrane may have been having 
> > problems with flaws in his instrument. Very often, the rush 
> > to "get a product to market" overrides asthetic 
> > considerations. These may have been mitigating factors. At 
> > the risk of sounding hypercritical... As to the flawed 
> > Ellington recordings: Duke's band was populated with 
> > inveterate partiers, though they were, in fact, supremely 
> > talented individuals. Sometimes their lifestyles got in the 
> > way of sound musical execution. The band did, of course, 
> > swing - and swing hard. Don't get me wrong, I believe 
> > the Ellington band was a rare and beautiful organization. 
> > Duke, along with his band (and don't forget Billy 
> > Strayhorn), broke lots of new ground in the history of jazz 
> > in general, and in the history of the jazz orchestra in 
> > particular. Often his (and Billy's) orchestrations were 
> > more akin to the works of Igor Stravinsky than that of Count 
> > Basie or Woody Herman. In this respect, I agree 
> > wholeheartedly with Gunther Schull 
> > er and other Ellington (and Strayhorn) scholars. 
> > 
> > I just did an interview the other day with Kendrick Oliver 
> > of the New 
> > Life Jazz Orchestra. Kendrick started the big band when he 
> > was a Berklee 
> > student and the band is 10 years old. (he'll have a new 
> > web site up 
> > shortly) He told me that he had some of his compositions 
> > and 
> > arrangements slashed terribly by his teachers at Berklee. 
> > He said that 
> > in many cases he didn't care if they said something he 
> > did was wrong. If 
> > it sounded good to him, no matter what his teacher said he 
> > decided to go 
> > with it. 
> > 
> > What are you saying about Trane, the other members of the 
> > band, Johnny 
> > Hartman and all the producers and all the fans of this 
> > recording? That 
> > you have better ears and we just don't know good music? 
> > We do know that 
> > for many the music produced a pleasant enjoyable 
> > experience. So just 
> > what is the purpose of music? Knowing how much of a student 
> > of music 
> > Trane was, I wouldn't jump to the conclusion that Trane 
> > was doing 
> > something wrong. Remember there are few second takes. In 
> > addition, they 
> > could have recorded the quartet parts again if they felt 
> > there was a 
> > problem. Coltrane was certainly no stranger to the studio. 
> > You have 
> > assumed that this was a mistake on Trane's part. 
> > 
> > I have not studied music very much. I would never call 
> > myself a musician 
> > so I may be way off here but it seems to me that the 
> > playing of a note 
> > against another note or chord can create a tension. Some of 
> > the joy of 
> > listening to music is how that tension is resolved. All I 
> > can say again 
> > is that whatever tension was created by Trane playing sharp 
> > seems to 
> > have resolved itself in a way that is pleasing to many. My 
> > guess is that 
> > many who love this music don't even know what 
> > intonation means and 
> > couldn't care less what the rules say. Like Kendrick, 
> > they just know 
> > that Trane and Hartman sound good to them 
> > 
> > And if Trane wasn't playing sharp, wouldn't that 
> > change the sound of the 
> > music and quite possibly change the emotional impact of the 
> > music? As 
> > Albert Ayler said about that time, "It's not about 
> > notes. It's about 
> > feelings." Again, I'm not a musician so I could be 
> > wrong. 
> > 
> > About 40 years ago I read a book about the Psychology of 
> > music. I'm not 
> > sure but that might have been the title. They talked about 
> > the brother 
> > of a well known classical composer. This brother seemed to 
> > have no 
> > interest in music. Somehow, they eventually came to the 
> > conclusion that 
> > this brother was so sensitive to music that he just 
> > didn't enjoy most 
> > music that he heard. While thousands of us listen to and 
> > enjoy Trane and 
> > Hartman you hear it as flawed. I don't know if you 
> > consider that a curse 
> > or a blessing. 
> > 
> > Eric Jackson 
> > Mon - Thurs 8 pm - mid. 
> > 89.7 FM WGBH Boston 
> > www.wgbh.org/jazz 
> > 
> > 
> > 
> > > I'm sorry I don't have time to fish through my 
> > rather large collection of Ellington scores and recordings 
> > in order to site specific instances of bad intonation and 
> > blend. Certainly, there are times when the execution of the 
> > Ellington band was incomparable. But, there were times when 
> > I wondered "what were they thinking?" Again, the 
> > decision to release may have been driven by pressure from 
> > the record label. Also, jazz recording budgets are often 
> > tiny. There is often not the luxury of doing a re-take. 
> > > 
> > > To the Coltrane devotees: My apologies if I have 
> > offended anyone. A comment fomented by a dullard such as 
> > myself certainly doesn't diminish his stature in the 
> > history of jazz. I merely feel that, in my role as a jazz 
> > educator, it is my responsibility to point out the good and 
> > bad aspects of high profile jazz icons who often serve as 
> > role models for future generations of jazz practicioners. 
> > > 
> > > Respectfully, 
> > > 
> > > Ray 
> > > -- 
> > > Ray Reach 
> > > 
> > > Pianist / Vocalist / Guitarist / 
> > > Arranger / Composer / Producer 
> > > CEO, Magic City Music Productions 
> > > 207 Three Sons Drive 
> > > Birmingham, AL 35226 
> > > Director of Student Jazz Programs, 
> > > Alabama Jazz Hall of Fame 
> > > www.jazzhall.com 
> > > www.en.wikipedia.org/wiki/Ray_Reach 
> > > www.allaboutjazz.com/php/musician.php?id=1874 
> > > www.myspace.com/rayreachmusic 
> > > Cellular: 205-960-6328 
> > > 
> > > 
> > > -------------- Original message from 
> > mileswillis at wpfw.org: -------------- 
> > > 
> > > This week's sponsor: JazzWeek Summit 2009 -- dates 
> > and venue to be announced in 
> > >> August; registration opens in September. 
> > >> 
> > >> ++++++++++++++++++++++++++++++ 
> > >> 
> > >> 
> > >> 
> > >> Hello Ray, 
> > >> 
> > >> Since you've been a professional musician 
> > for some 45 years, 
> > >> would please explain what you mean by 'massive 
> > intonation problems'? 
> > >> And on which particular recordings by Coltrane or 
> > anyone else is this 
> > >> problem most obvious and easily detected? I too 
> > play and read music so 
> > >> please don't feel the need to 
> > 'translate' your explanation for a 
> > >> non-musician. Maybe you could also provide the 
> > titles to some of those 
> > >> 'drunk-sounding' Ellington records as 
> > well. 
> > >> 
> > >> Also, I found at least four reviews of the 
> > 2006 Al 
> > >> Jerreau/George Benson recording, /Givin' It 
> > Up/, that you may not have 
> > >> read. One, from allmusic.com 
> > >> 
> > (http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gpfexqqkldfe[1]), 
> > 
> > >> give it 3 and a half stars; not exactly glowing 
> > but hardly a 'slam'. 
> > >> Another, blogcritics.com 
> > >> 
> > (http://blogcritics.org/archives/2006/11/29/0957222.php[2]), 
> > ends with 
> > >> this statement: 
> > >> 
> > >> "fans of either artist will find this an 
> > acceptable to distinguished 
> > >> effort but detractors will point to it as another 
> > example of a 
> > >> tendency to underachieve. Perhaps the latter comes 
> > with the territory 
> > >> when you have the considerable talents these 
> > gentlemen possess." 
> > >> 
> > >> Again, not gushing but not exactly an emphatic 
> > 'thumbs down' either. 
> > >> 
> > >> Another one states, "Every song on the album 
> > is worth a listen, with 
> > >> Benson’s guitar and voice in fine form, and 
> > the addition of Jarreau’s 
> > >> ability to sing different styles while never 
> > losing his ability to 
> > >> entertain. You’ll enjoy this brand new 
> > release, especially if you’re a 
> > >> fan of the artists" Maybe that particular 
> > reviewer was in a 'manic' 
> > >> phase of his bipolar illness. 
> > >> 
> > >> And there was this one: 
> > >> 
> > 
> (http://ezinearticles.com/?George-Benson-and-Al-Jarreau-Givin-It-Up-Smooth-Jazz- 
> > 
> > >> Music-CD-Review&id=461751[3]) "One of the 
> > really nice things about a CD like 
> > >> this is with this level of talent even if Smooth 
> > Jazz isn't your favorite style 
> > >> you still can't help but appreciate the 
> > greatness of the artists. These two have 
> > >> been doing it so long and are so polished they 
> > just seem to embody the term 
> > >> musician." 
> > >> 
> > >> I did not find a single review of this recording 
> > that came anywhere 
> > >> close to being a 'slam' or thumbs down. 
> > >> 
> > >> Were YOU drunk when you wrote this or had you not 
> > taken your meds that day? 
> > >> 
> > >> Sincerely, 
> > >> Miles Willis 
> > >> WPFW 
> > >> 
> > >> Quoting Ray Reach : 
> > >> 
> > >>> This week's sponsor: JazzWeek Summit 2009 
> > -- dates and venue to be 
> > >>> announced in August; registration opens in 
> > September. 
> > >>> 
> > >>> ++++++++++++++++++++++++++++++ 
> > >>> 
> > >>> Dear Misters Davis and Willis, 
> > >>> 
> > >>> As a professional musician of some 45 years, I 
> > find validity in 
> > >>> some aspects of both your points of view. 
> > Here's my view: I 
> > >>> believe that there are good things to be 
> > gleaned from both more 
> > >>> traditional ("mainstream") jazz and 
> > the so-called "contemporary" or 
> > >>> "smooth" jazz 
> > >>> 
> > >>> It is my belief that, in the words of Louis 
> > Armstrong, there are 
> > >>> "...only TWO kinds of music, good music 
> > and bad music." Fact is, 
> > >>> there has always been, since the earliest days 
> > of recorded music 
> > >>> history, lots of mediocre and bad music and 
> > precious little good 
> > >>> music. Not all of us (musicians) are in 
> > possesion of the high 
> > >>> level of talent or skill that it takes to be 
> > a Mozart or an 
> > >>> Ellington. 
> > >>> 
> > >>> However, it is also my firm belief that 
> > "the cream will rise to the 
> > >>> top." The quality listeners will always 
> > seek out the quality music. 
> > >>> 
> > >>> I produce recordings of all sorts, from 
> > Country to Gospel to Jazz 
> > >>> to Classical. True, my fave is jazz, but I 
> > also appreciate great 
> > >>> Bluegrass, Western Swing (a la Bob Wills or 
> > Asleep At The Wheel), 
> > >>> Pop / R & B (a la Stevie Wonder, Earth, 
> > Wind and Fire and Luther 
> > >>> Vandross), great Classical (a la Itzak 
> > Perlman), etc., etc., etc. 
> > >>> 
> > >>> I remember the 1970's when many jazz 
> > "purists" thought Chick Corea 
> > >>> and Return To Forever and other such fusion 
> > groups were the jazz 
> > >>> "Anti-Christ." Nowadays, tunes such 
> > as Spain from RTF's "Light As 
> > >>> A Feather" album are considered 
> > mainstream. 
> > >>> 
> > >>> My main point is: All these genre and 
> > subgenre of jazz don't have 
> > >>> to be mutually exclusive. Jazz will continue 
> > to evolve. If it 
> > >>> doesn't, it will surely die. So, at this 
> > point, I guess I agree 
> > >>> with Mr. Davis. Let's "lighten 
> > up." Yes, there are a lot of 
> > >>> "dumb" (low artistic content) 
> > smooth jazz recordings out there. 
> > >>> But, I've also heard a lot of 
> > "stupid," poorly executed "pure" jazz 
> > >>> recordings. 
> > >>> 
> > >>> Dare I say this? I've heard some cuts by 
> > John Coltrane and others 
> > >>> wherein the intonation problems are massive, 
> > but they were still 
> > >>> released. And live recordings of various 
> > "pure jazz" artists that 
> > >>> exhibited ensemble problems, problems with 
> > balance and blend, and 
> > >>> poorly executed improvised solos, yet they 
> > became "hit" jazz 
> > >>> recordings. Or recordings of the Ellington 
> > band which sounded as 
> > >>> if most of the band was drunk. (They may 
> > have been.) 
> > >>> 
> > >>> Are these poor quality "pure" jazz 
> > recordings any better than some 
> > >>> of the slickly produced, but unimaginative, 
> > smooth jazz recordings. 
> > >>> I think not. In fact, I've heard 
> > contemporary jazz recordings such 
> > >>> as the recent effort by Al Jarreau and George 
> > Benson, which got 
> > >>> slammed by the critics, and I thought it was 
> > wonderful! The 
> > >>> arrangements were extremely clever, the 
> > production was top drawer, 
> > >>> the performances were incredible, yet the 
> > critics gave it a "thumbs 
> > >>> down." Often I wonder if many critics 
> > are bipolar, and if they 
> > >>> were having a depressed day when the wrote 
> > certain reviews. 
> > >>> 
> > >>> All the best, 
> > >>> 
> > >>> Ray 
> > >>> -- 
> > >>> Ray Reach 
> > >>> 
> > >>> Pianist / Vocalist / Guitarist / 
> > >>> Arranger / Composer / Producer 
> > >>> CEO, Magic City Music Productions 
> > >>> 207 Three Sons Drive 
> > >>> Birmingham, AL 35226 
> > >>> Director of Student Jazz Programs, 
> > >>> Alabama Jazz Hall of Fame 
> > >>> www.jazzhall.com 
> > >>> www.en.wikipedia.org/wiki/Ray_Reach 
> > >>> www.allaboutjazz.com/php/musician.php?id=1874 
> > >>> www.myspace.com/rayreachmusic 
> > >>> Cellular: 205-960-6328 
> > >>> 
> > >>> 
> > >>> -------------- Original message from 
> > mileswillis at wpfw.org: -------------- 
> > >>> 
> > >>> This week's sponsor: JazzWeek Summit 2009 
> > -- dates and venue to be 
> > >>> announced in 
> > >>>> August; registration opens in September. 
> > >>>> 
> > >>>> ++++++++++++++++++++++++++++++ 
> > >>>> 
> > >>>> 
> > >>>> 
> > >>>> Dear Mr. Davis, 
> > >>>> 
> > >>>> I think that I understand your 
> > sentiments but must take strong 
> > >>>> exception to your characterization of a 
> > commitment to playing 'pure' 
> > >>>> jazz as some stubborn 
> > 'ghetto-ization' of the music that may 
> > >>>> ultimately lead to it's disappearance 
> > from the radio airwaves. 
> > >>>> 
> > >>>> I assume that what you are hinting 
> > at is the mixing of music that 
> > >>>> is referred to as 'smooth' or 
> > 'contemporary' along with jazz for the 
> > >>>> purpose of gaining greater general 
> > audience appeal. You go on to infer 
> > >>>> that doing so will lead to 
> > "developing a mindset... that programs jazz 
> > >>>> as a part of an interesting, challenging, 
> > sophisticated general music 
> > >>>> format", as though the playing of 
> > ONLY jazz cannot precipitate such a 
> > >>>> development. This thought makes apparent 
> > that you, inexplicably, do 
> > >>>> not find jazz itself to be 
> > 'interesting, sophisticated and 
> > >>>> challenging' on it's own and can 
> > only become so by diluting it's 
> > >>>> presention with non-jazz music. 
> > >>>> 
> > >>>> Being that you are (or claim to be) 
> > a jazz radio programmer, I'm 
> > >>>> deeply troubled by your assertion that we 
> > must 'rid (ourselves) of the 
> > >>>> idea that (we)... owe something to this 
> > genre... (or that) it must be 
> > >>>> kept "pure"'!? First of all, 
> > it is the musicians who keep it the art 
> > >>>> form "pure" by respecting and 
> > absorbing it's traditions as 
> > >>>> they continue it's evolvement. Even 
> > more disconcerting is your belief 
> > >>>> that it is BOTH musicians and radio people 
> > who are responsible for 
> > >>>> this 'ghetto-ization', which you 
> > define, rather clumsily, as "making 
> > >>>> music that appeals primarily to academic 
> > circles--conservatory 
> > >>>> musicians and a few fellow 
> > travellers". While I do acknowledge that 
> > >>>> some of jazz' more abstract 
> > forms/genres are difficult for even some 
> > >>>> of it's most avid fans to appreciate, 
> > there is no reason why the more 
> > >>>> traditional and/or mainstream works cannot 
> > have more broad popular 
> > >>>> appeal far beyond the conservatories and 
> > academic circles, 
> > >>>> particularly if it... you know, swings. 
> > >>>> 
> > >>>> You blame the music and the 
> > 'purity' with which we stubbornly 
> > >>>> present it as the reason for it's 
> > disappearance from radio, implying 
> > >>>> is that a larger potential audience awaits 
> > if we'd all just 'lighten 
> > >>>> up'. The truth is that too few people 
> > ever get to hear jazz in the 
> > >>>> first place. We, the musicians and 
> > 'radio people', need to promote the 
> > >>>> music to, shall we say, 
> > 'underserved' populations. Let's go to the 
> > >>>> schools, community centers, bookstores, 
> > etc. to talk about and play 
> > >>>> this great music for those who've 
> > never had the opportunity to hear 
> > >>>> it, which would include just about 
> > everyone, everwhere. The music can 
> > >>>> create it own demand or, to paraphrase, 
> > 'if they hear it they will dig 
> > >>>> it'. For nearly a century jazz has 
> > stood upon its own merits, 
> > >>>> diluting, however well-intentioned, it is 
> > the surest path toward its 
> > >>>> demise. 
> > >>>> 
> > >>>> Sincerely, 
> > >>>> Miles Willis 
> > >>>> WPFW - Washington, DC 
> > >>>> 
> > >>>> Quoting Eric Hines : 
> > >>>>> This week's sponsor: JazzWeek 
> > Summit 2009 -- dates and venue to be 
> > >>>>> announced in August; registration 
> > opens in September. 
> > >>>>> 
> > >>>>> ++++++++++++++++++++++++++++++ 
> > >>>>> 
> > >>>>> 
> > >>>>> How do we stop these changes? Jazz 
> > programmers have to get as serious 
> > >>>>> about radio as they are about jazz. 
> > I've seen plenty of progress here at 
> > >>>>> jpl over the years on that issue, but 
> > there's still a lot of work to be 
> > >>>>> done. 
> > >>>>> 
> > >>>>> One thing that I think needs to happen 
> > is that programmers have to rid 
> > >>>>> themselves of the idea that they,a s 
> > radio programmers, owe something to 
> > >>>>> the genre "jazz" or that 
> > this genre has to be kept "pure." Radio is a 
> > >>>>> mass medium; if you don't use it 
> > (less than 1 AQH share in wmub's case), 
> > >>>>> you lose it. I know a lot of us 
> > (including me) have a long way to go in 
> > >>>>> that respect, but that's the 
> > battle we're fighting. 
> > >>>>> 
> > >>>>> Developing a mindset--and 
> > programs--that programs jazz as a part of an 
> > >>>>> interesting, challenging, 
> > sophisticated general music format probably is 
> > >>>>> the only chance there is for jazz 
> > music on radio. And the more musicians 
> > >>>>> and radio people ghettoize the music 
> > (by making music that appeals 
> > >>>>> primarily to academic 
> > circles--conservatory musicians and a few fellow 
> > >>>>> travellers; by programming shows 
> > consisting largely of such music), the 
> > >>>>> more likely it will be ghettoized on 
> > the radio as well--to places like 
> > >>>>> HD, which, frankly, is a bad joke 
> > which we won't have to kick around for 
> > >>>>> very long in any case. 
> > >>>>> 
> > >>>>> --eric 
> > >>>>> 
> > >>>>> 
> > >>>>> 
> > >>>>> 
> > >>>>> Eric Hines 
> > >>>>> General Manager 
> > >>>>> WNMC 90.7 FM 
> > >>>>> http://www.wnmc.org[1[4]] ( 
> > http://www.wnmc.org/[2[5]] ) 
> > >>>>> 1701 East Front St. 
> > >>>>> Traverse City, MI 49686 
> > >>>>> 231-995-2562 
> > >>>>> 
> > >>>>> 
> > >>>>> Play in NMC’s scholarship golf 
> > outing Aug. 7 ( 
> > >>>>> 
> > http://www.nmc.edu/foundation/events/golf-scholarship.html[3[6]] 
> > ) ( 
> > >>>>> 
> > http://www.nmc.edu/alumni/update.html[4[7]] ) 
> > >>>>> 
> > >>>>>>>> "Dr. Jazz" 
> > 8/7/2008 3:11 PM >>> 
> > >>>>> This week's sponsor: JazzWeek 
> > Summit 2009 -- dates and venue to be 
> > >>>>> announced in August; registration 
> > opens in September. 
> > >>>>> 
> > >>>>> ++++++++++++++++++++++++++++++ 
> > >>>>> 
> > >>>>> WMUB (Miami U) in Ohio has just 
> > changed to an all news & info station, 
> > >>>>> 
> > >>>>> and has moved all music to their HD 
> > channel. From their website: 
> > >>>>> 
> > >>>>> *Why These Changes? 
> > >>>>> *As many of our listeners know, in the 
> > last 18 months WMUB has been the 
> > >>>>> 
> > >>>>> subject of a major internal study from 
> > Miami University, chaired by 
> > >>>>> Journalism Program Chair Richard 
> > Campbell. The radio environment both 
> > >>>>> nationally and locally has seen rapid 
> > change during that time, but as 
> > >>>>> General Manager of WMUB I did not feel 
> > it was appropriate to institute 
> > >>>>> 
> > >>>>> anything but very minor changes to our 
> > overall programming mix during 
> > >>>>> this time. 
> > >>>>> 
> > >>>>> Now that review is over, and it is 
> > time for WMUB to move ahead. The 
> > >>>>> committee's recommendation of 
> > dynamic partnerships on and off campus 
> > >>>>> has 
> > >>>>> challenged us to live up to our 
> > mission as never before: 
> > >>>>> 
> > >>>>> * Miami's review affirmed 
> > WMUB's role as a public service radio 
> > >>>>> station. 
> > >>>>> * We believe that commitment is 
> > best served by a full-time mix of 
> > >>>>> local and national news and 
> > information programming. 
> > >>>>> * By focusing our format, we 
> > believe we will increase our ability 
> > >>>>> to 
> > >>>>> attract and retain new 
> > listeners as well as serve the great 
> > >>>>> majority of current listeners. 
> > >>>>> * This change thus orients us 
> > toward future growth in audience and 
> > >>>>> local fundraising capacity. 
> > >>>>> * The resources of the WMUB news 
> > room will build on the best of 
> > >>>>> NPR 
> > >>>>> and now (for the first time) 
> > the BBC. 
> > >>>>> * Repeating Diane Rehm and Talk 
> > of the Nation reinforces the 
> > >>>>> centrality of our news and 
> > information format. 
> > >>>>> * The repeats give those who 
> > can't listen during the daytime the 
> > >>>>> chance to experience the depth 
> > of NPR's talk shows. 
> > >>>>> * The BBC World Service gives an 
> > international scope and 
> > >>>>> perspective 
> > >>>>> unmatched by any other 
> > available source. 
> > >>>>> * Although other stations in the 
> > area carry some BBC also, we will 
> > >>>>> carry more hours, and at 
> > different times. 
> > >>>>> * The *HD2 Jazz channel* and its 
> > >>>>> associated live web stream 
> > provide the appropriate vehicles for 
> > >>>>> presenting Mama Jazz to her 
> > audience as well as our overnight 
> > >>>>> and 
> > >>>>> daytime jazz offerings. 
> > >>>>> * We will be able to provide 
> > further opportunities to work with 
> > >>>>> Miami students in a 
> > professional environment. 
> > >>>>> 
> > >>>>> What can be done to stop this 
> > continuing trend by non-commercial 
> > >>>>> stations? 
> > >>>>> -Dr. 
> > >>>>> 
> > >>>>> -- 
> > >>>>> Dr. Jazz 
> > >>>>> Dr. Jazz Operations 
> > >>>>> 24270 Eastwood 
> > >>>>> Oak Park, MI 48237 
> > >>>>> (248) 542-7888 
> > >>>>> http://www.drjazz.com[6[8]] ( 
> > http://www.drjazz.com/[7[9]] ) 
> > >>>>> SKYPE: drjazz99 
> > >>>>> 
> > >>>>> -- 
> > >>>>> 
> > >>>>> Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > >>>>> List information: 
> > >>>>> 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[8[10]] 
> > 
> > >>>>> List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[9[11]] 
> > >>>>> Sponsorship information: 
> > jplsponsor at jazzweek.com 
> > >>>>> -- 
> > >>>>> 
> > >>>>> Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > >>>>> List information: 
> > >>>> 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[10[12]] 
> > 
> > >>>>> List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[11[13]] 
> > >>>>> Sponsorship information: 
> > jplsponsor at jazzweek.com 
> > >>>>> 
> > >>>> 
> > >>>> Links: 
> > >>>> ------ 
> > >>>> [1] http://www.wnmc.org/[14] 
> > >>>> [2] http://www.wnmc.org/[15] 
> > >>>> [3] 
> > http://www.nmc.edu/foundation/events/golf-scholarship.html[16] 
> > 
> > >>>> [4] 
> > http://www.nmc.edu/alumni/update.html[17] 
> > >>>> [5] http://www.wmub.org/HDradio/[18] 
> > >>>> [6] http://www.drjazz.com/[19] 
> > >>>> [7] http://www.drjazz.com/[20] 
> > >>>> [8] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[21] 
> > >>>> [9] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[22] 
> > >>>> [10] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[23] 
> > >>>> [11] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[24] 
> > >>>> 
> > >>>> -- 
> > >>>> 
> > >>>> Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > >>>> List information: 
> > >>>> 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[25] 
> > >>>> List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[26] 
> > >>>> Sponsorship information: 
> > jplsponsor at jazzweek.com 
> > >>> -- 
> > >>> 
> > >>> Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > >>> List information: 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[27] 
> > >>> List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[28] 
> > >>> Sponsorship information: 
> > jplsponsor at jazzweek.com 
> > >>> 
> > >> 
> > >> Links: 
> > >> ------ 
> > >> [1] 
> > http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gpfexqqkldfe 
> > 
> > >> [2] 
> > http://blogcritics.org/archives/2006/11/29/0957222.php 
> > >> [3] 
> > >> 
> > 
> http://ezinearticles.com/?George-Benson-and-Al-Jarreau-Givin-It-Up-Smooth-Jazz-M 
> > 
> > >> usic-CD-Review&id=461751 
> > >> [4] http://www.wnmc.org[1/ 
> > >> [5] http://www.wnmc.org/[2 
> > >> [6] 
> > http://www.nmc.edu/foundation/events/golf-scholarship.html[3 
> > 
> > >> [7] http://www.nmc.edu/alumni/update.html[4 
> > >> [8] http://www.drjazz.com[6/ 
> > >> [9] http://www.drjazz.com/[7 
> > >> [10] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[8 
> > >> [11] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[9 
> > >> [12] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist[10 
> > >> [13] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/[11 
> > >> [14] http://www.wnmc.org/ 
> > >> [15] http://www.wnmc.org/ 
> > >> [16] 
> > http://www.nmc.edu/foundation/events/golf-scholarship.html 
> > >> [17] http://www.nmc.edu/alumni/update.html 
> > >> [18] http://www.wmub.org/HDradio/ 
> > >> [19] http://www.drjazz.com/ 
> > >> [20] http://www.drjazz.com/ 
> > >> [21] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > >> [22] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > >> [23] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > >> [24] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > >> [25] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > >> [26] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > >> [27] 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > >> [28] 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > >> 
> > >> -- 
> > >> 
> > >> Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > >> List information: 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > >> List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > >> Sponsorship information: jplsponsor at jazzweek.com 
> > > -- 
> > > 
> > > Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > > List information: 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > > List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > > Sponsorship information: jplsponsor at jazzweek.com 
> > > 
> > 
> > -- 
> > 
> > Jazz Programmers' Mailing List: 
> > jazzproglist at jazzweek.com 
> > List information: 
> > http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> > List archive: 
> > http://lists.jazzweek.com/pipermail/jazzproglist/ 
> > Sponsorship information: jplsponsor at jazzweek.com 
> 
> 
> 
> 
> -- 
> 
> Jazz Programmers' Mailing List: jazzproglist at jazzweek.com 
> List information: http://lists.jazzweek.com/mailman/listinfo/jazzproglist 
> List archive: http://lists.jazzweek.com/pipermail/jazzproglist/ 
> Sponsorship information: jplsponsor at jazzweek.com 


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